The Political Force of Musical Actants: Grooves, Pleasures, and Politics in Havana D'Primera's ‘Pasaporte’ Live in Havana

Bøhler, Kjetil Klette

doi:10.1017/s1478572220000614

Cited by 4 publications

(3 citation statements)

References 88 publications

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“…Inspired by Martha Nussbaum's work Political Emotions (2013) and recent scholarship on affective politics (Desai-Stephens and Reisnour 2020; Seigworth and Gregg 2010;Bøhler 2017Bøhler , 2021, I propose that our local worship community functions as a distinct political entity. I argue that singing together, including in online worship, shapes a 'person's own viewpoint [and] conception of a worthwhile life' (Nussbaum 2013, 11).…”

Section: Conceptualizing Music Religion and Affective Politicsmentioning

confidence: 99%

Worshipping Musically Online During Covid-19

Strøm

2023

JEA

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The Covid-19-pandemic and resulting infection control measures drastically impacted the ability of Christian worshippers to gather and practice their faith. As a result, online solutions emerged as the primary option for maintaining religious practice. In this article, I conduct an autoethnographic study of my own experiences as a member of a Lutheran congregation to explore the impact of online worship practices during the pandemic. Specifically, I examine how music and sounds in worship online shaped worshippers like me through affective means, and what social and political effects these sonic engagements had. To guide my analysis, I draw on Gibson’s concept of affordance and affect theory as theoretical frameworks. It is important to acknowledge that online worship during the pandemic was experienced in different ways. Some individuals may have experienced a sense of flourishing and connection through online worship, while others may have felt isolated and disconnected. Although online worship may lack the physical presence of traditional religious gatherings, it can still serve as a means of facilitating a sense of an ‘absent presence’ for individual worshippers. Overall, understanding the impact of online worship practices during the pandemic is an important area of study with significant implications for the future of religious practice.

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Section: Conceptualizing Music Religion and Affective Politicsmentioning

confidence: 99%

Worshipping Musically Online During Covid-19

Strøm

2023

JEA

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“…In a similar vein, Ngũgĩ wa Thiong'o explains how '[t]he nation-state sees the entire territory as its performance area; it organizes the space as a huge enclosure, with definite places of entrance and exit … the state performs power' (Thiong'o 1998, 21, 12). The physical, emotive, and spatial dimensions of brass band music provided the strikers a tactical edge in disrupting the state's control and manipulation of space (Rancière 2013;Bøhler 2021). Their multilayered textures of cornets and baritones, and the percussive insistence of snare and bass drums, resonated throughout the city streets, from the docks into the heart of the city, ensuring the affective attunement of strikers as they became 'musical-object[s]-as-bodies' (Stover 2017, 12).…”

Section: Post-reconstruction Brassroots Democracymentioning

confidence: 99%

Sounding Affective Consensus

Barson

2023

JEA

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This paper explores how New Orleans Black dockworkers created affective communities by utilizing brass bands, as evidenced by newspapers, union records, and testimonies from jazz musicians. In an attempt to weave together congruences between ‘history from below’, the affective turn, and theorists of the Black radical tradition, I argue that the nation’s largest Black Union in the late nineteenth century, the Longshoremen’s Protective Union Benevolent Association of New Orleans, successfully intervened in this port city’s economy by building a mass movement. They did so not only because of their strategic location in relation to capital and a modernizing logistics industry, but also because these dockworkers successfully struggled to control the affective modalities and temporalities of daily life. It was in this latter strategy that polyphonic brass bands and collective singing traditions played important roles in struggling for bodily autonomy and new social relations formulated in opposition to the profit motive. I coin this felt solidarity ‘affective consensus,’ which was a consensus-based decision-making process activated by agreed-upon musical conventions. Its power lies in its historical connections between democratic traditions of assembly, workplace struggles, and forms of participatory music making--all emblematic of late nineteenth-century Black New Orleans.

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“…The final section shifts the focus to the ongoing war in Ukraine, drawing on various media sources to empirically develop the central thesis that music – and what Small (1998) terms ‘musicking’ 4 – can be a form and expression of resilience in war situations that directly acts on and transforms the acoustic ecology. To thicken the analysis, it focuses on a small number of online videos, giving attention – like Bøhler’s (2021: 197) research on the political significance of Cuban timba music – to issues such as ‘how the music sounded; what emotions, practices, and values it suggested; and how the audience responded to it’.…”

Section: Introductionmentioning

confidence: 99%

Music, Resilience and ‘Soundscaping’: Some Reflections on the War in Ukraine

Clark

2023

Cultural Sociology

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There exists a rich corpus of literature exploring some of the diverse roles – positive and negative – that music can play in war. This interdisciplinary article makes a novel contribution to this literature, and to research on the sociology of music more broadly, through its particular emphasis on resilience. Scholarship on resilience has increasingly moved beyond person-centred, psychology-based approaches towards more complex relational and multi-systemic framings that situate the concept in the interactions between individuals and their social ecologies (environments). However, it has given little attention to the sensory dimensions of these ecologies, including their acoustic dimensions. Focusing on the war in Ukraine and drawing primarily on media sources (including several online videos) to develop its analysis, the article argues that music can be a form and expression of resilience (and resistance) in war situations that directly acts on the acoustic ecology – a concept that to date has mainly been discussed within ecology and conservation research. Specifically, the article frames music as a form of ‘soundscaping’, in the sense of an active aligning of sound and wellbeing.

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The Political Force of Musical Actants: Grooves, Pleasures, and Politics in Havana D'Primera's ‘Pasaporte’ Live in Havana

Cited by 4 publications

References 88 publications

Worshipping Musically Online During Covid-19

Worshipping Musically Online During Covid-19

Sounding Affective Consensus

Music, Resilience and ‘Soundscaping’: Some Reflections on the War in Ukraine

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